Blackberry Smoke - Find A Light Tour

Blackberry Smoke

Pigeonholing Blackberry Smoke has never been easy. Since emerging from Atlanta in the early ‘00s, the quintet—vocalist/lead guitarist Charlie Starr, guitarist/vocalist Paul Jackson, bassist/vocalist Richard Turner, drummer Brit Turner and keyboardist Brandon Still—has become known for a singular sound indebted to classic rock, blues, country and folk. This fluidity has paid off handsomely, in the form of two Billboard chart-topping country albums, 2015’s Holding All The Roses and 2016’s Like An Arrow. (For good measure, the latter also topped Billboard’s Americana/Folk album chart.) Find A Light, Blackberry Smoke’s sixth studio album, doubles down on diversity. Songs hew toward easygoing roots-rock (“Run Away From It All”) and Southern rock stomps (“The Crooked Kind”), as well as stripped-down acoustic numbers (“I’ve Got This Song”) and bruising alt-country (“Nobody Gives A Damn”). Rich instrumental flourishes—keening fiddle, solemn organ and bar-band piano boogie—add further depth and resonance. “That’s one of my favorite things about Blackberry Smoke albums—there’s a lot of variety,” Starr says. “My favorite albums through the years are built that way, too. I love a record that keeps you guessing. I love the fact that our records are sort of a ride, with different types of songs and different vibes.”
Within Blackberry Smoke’s catalog, Find A Light is distinctive in several notable ways. The record sounds heavier than other albums; in fact, Starr characterizes the churning, scorched-blues album opener, “Flesh And Bone,” as “maybe the heaviest song we’ve ever recorded.” The title has deep significance to the record’s overarching themes. “Most of our albums have been named either for a song on the album or a lyric, and this time I didn’t want to do that,” Starr says. “I thought, ‘What headspace is humanity in as a whole?’ That’s pretty hard to argue with that. I think everybody is hoping and looking for something better right now.”Accordingly, Find A Light’s lyrics portray characters weighed down by the pressures of everyday life. “Flesh And Bone” explores the conundrum of temptation; “Run Away From It All” is about seizing the day and trying to leave troubles behind; and “Nobody Gives A Damn” cautions about letting external achievements such as an attractive partner or a hit song go to one’s head. “Inspiration comes from so many different places,” Starr says. “A lot of inspiration can be drawn from current events these days, and how complicated the world is.”Yet Find A Light’s hard-luck characters are soldiering forward despite it all, and remain buoyed by optimism—and deep faith in themselves. “One of these days I’ll get the best seat in the house/It’s the measure of a man, of a man,” goes the jangly “Best Seat In The House,” while the narrator of “I’ve Got A Song” asserts, “At the end of the day, it’s the one thing they can’t take away: I’ve got this song.” The album’s final song, “Mother Mountain,” focuses on the belief that redemption and rebirth are always within reach. “It felt good to write that song,” Starr says of the latter. “I don’t write a whole lot of songs like that, the really optimistic, yearning for something better kind of a song. The album’s called Find A Light, and that song is sort of a plea, as far as that goes.”Starr switched into writing mode for Find A Light thanks to impromptu songwriting sessions he had with his friend Keith Nelson, formerly of the band Buckcherry. The men had never collaborated before, but found an instant creative connection. In fact, Starr ended up using four songs from their time together—including “Run Away From It All,”“Nobody Gives A Damn”and “Best Seat In The House”—on Find A Light. “At some point, I told him, ‘Man, I really like these songs for Blackberry Smoke. These are Blackberry Smoke songs,’“ Starr says. “He didn’t disagree. I hadn’t really started to write for another album yet, so these lit the fire, so to speak.”Blackberry Smoke spent a little over two weeks recording Find A Light in Atlanta with engineer/mixer Tom Tapley and long-time collaborator Benji Shanks. As with 2016’s Like An Arrow, the band self-produced the record. “With these two albums, we really knew what we wanted them to sound like, and what kind of record we wanted to make,” Starr says. “It was a pretty easy decision to say, ‘Hey, let’s do it ourselves.’“That confident vision informed the band’s decision to have several guest musicians appear on Find A Light. The brisk, gospel-tinged Southern rocker “I’ll Keep Ramblin’“ features the song’s co-writer, Robert Randolph, adding frantic pedal steel, while the psychedelic-tinted folk elegy “Mother Mountain” blooms with The Wood Brothers’ inimitable harmonies. “As we were recording that song, I was singing it, and from the very beginning of that song—even in its embryonic stage—I wanted it to be a three-part harmony all the way through,” Starr says. “I asked The Wood Brothers, because I love their vocal blend. They’re fantastic harmony singers.”Another Keith Nelson co-write, the easygoing “Let Me Down Easy,” features Amanda Shires shading Starr’s vocals with her clarion twang. “I thought it would be really cool to have a female harmony on this song, sort of a Gram Parsons-Emmylou Harris kind of thing,” Starr explains. “And Amanda came to mind. Her voice is so cool, so genuine and unique.”
At its core, Find A Light illustrates the efficiency and chemistry of Blackberry Smoke’s instrumentalists, who have no trouble translating the band’s loose live shows into crisp studio recordings. “We always record together,” Starr says. “That’s what bands do. And you go in and listen, and think,‘Wow. How did that happen? What just happened? That was magic. That was magical. Can we do that again?’“I’m always blown away by my bandmates’ sympathy for the song,” he adds. “We all agree that that’s the way to be in this band is to play for the song—the song is the vehicle.”This commitment to putting the music first above all other considerations is one reason Blackberry Smoke has continued to evolve during their time together. And it also explains why Find A Light’s sonic progressions and expansions sound so effortless. “We didn’t want to repeat ourselves,” Starr says. “I don’t ever want to make a record that ourselves or are fans are like, ‘It’s the same old thing.’ But I still get a real lift from listening to Find A Light, even after multiple listens. I really am proud of the work that we accomplished.”

Alt-country songwriter. Rock & roll guitarist. Pop-punk pioneer. Chris Shiflett has played multiple
roles during his 20+ year career, fronting his own band one minute and serving as the Foo
Fighters' longtime guitarist the next. He turns a new corner with West Coast Town, an
autobiographical solo album that finds Shiflett pulling triple-duty as singer, songwriter and
Heavily inspired by both the unique twang of California's country tradition — particularly
Bakersfield icons like Buck Owens and Merle Haggard — and the rootsy stomp of the Rolling
Stones, West Coast Town is an extension of the acclaimed alt-country career Shiflett kickstarted
back in 2010. It's a bright, bold album, with Shiflett revising the supposed "rules" of country
music to suit his own background. There are no songs about Georgia back roads here. No
southern belles in denim cut-offs. Instead, Shiflett — a California native who grew up in Santa
Barbara — writes about an adolescence spent onstage, on the beach, and on the prowl. During
the nostalgic title track, "West Coast Town," a teenage Shiflett chases girls along the Pacific
Ocean shoreline, returning home at night to his childhood home on Salinas Street. Later, he
drinks away an ex's memory in "Room 102," battles hangovers and heartbreak in "I'm Still
Drunk," and triumphantly wraps up a rock & roll show with "Goodnight Little Rock."
"'Goodnight Little Rock' is a truck driving country song," he says of the rowdy, guitar-driven
track, "but written from the viewpoint of a van tour. That's as close as I've come to ever being a
truck driver."
Truck driver or not, Shiflett has spent the past two decades crisscrossing the globe, playing
thousands of shows along the way. In 2016, those travels took him to Nashville, where he
interviewed Grammy-winning producer Dave Cobb as part of his weekly podcast, Walking the
Floor with Chris Shiflett. The meeting took place at RCA Studio A, shortly after Cobb moved his
recording operations into the historic room. There, surrounded by vintage gear and the ghosts of
country music's greatest singers, Cobb and Shiflett formed a genuine friendship. "When I left the
studio," Shiflett remembers, "I thought, 'I have to make a record with that dude.' I was already a
big fan of the records Cobb produces, and his setup was just so amazing."
Later that summer, Shiflett came back to Nashville, this time with a catalog of new songs in tow.
West Coast Town, his first solo album since 2013's collection of honky-tonk covers, All Hat and
No Cattle, was recorded at RCA Studio A over a three-week period, with help from Grammywinning
engineer/mixer Matt Ross-Spang. Cobb doubled as the album's producer and acoustic
guitar player, with a group of A-list studio musicians — pedal steel guitarist Robby Turner
(Waylon Jennings, Chris Stapleton), drummer Chris Powell (Brent Cobb, Jamey Johnson),
bassist Adam Gardner (Southern Family), and keyboardist Michael Webb (Southern Family) —
adding their own contributions. On an album filled with all-star names, though, Shiflett plays the
biggest role, singing and picking his way through 10 original songs that mix together the bounce
of Bakersfield country, the anthemic punch of blue-collar roots-rock, the rule-breaking
rebelliousness of SoCal punk, and plenty of guitar heroics.
With every song captured in two or three takes, West Coast Town often sounds more like the
work of a live band than a studio creation. That approach suits the songs well. After all, this is an
album about growing up — about making peace with your roots — and growing up is always a
bit messy. Asked about his influences, Shiflett rattles off names like the Stray Cats, Social
Distortion, Dwight Yoakam, and Uncle Tupelo, all of whom challenged the rules of the genres
they occupied. West Coast Town follows a similar path. Although set in coastal California, it's an
album that creates its own geography — a place where dark lyrics rub shoulders with bright
bursts of melody; where country music doesn't just belong to American South, where the soft
swoon of pedal steel makes way for sharply-worded lyrics; and where one of modern music's
biggest multi-taskers can combine his songwriting, singing and guitar-playing talents into one
track list.


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